2 


afforded  opportunity  for  the  exercise  of  the  em- 
broiderer's skill.  It  may  be  noted,  by  the  way, 
that  these  embroiderers  were  generally  men,  or- 
ganized in  guilds  and  holding  high  position  among 
the  craftsmen  of  their  time.  Distinguished  artists 
were  not  above  supplying  the  working  drawings 
for  embroideries,  so  that  the  study  of  embroidery 
is,  in  a  way,  a  commentary  upon  the  history  of 
the  fine  arts. 

Lavish  use  of  embroidery  was  not  confined  to 
the  Church  alone.  In  the  middle  ages,  before 
the  extensive  manufacture  of  woven  textiles  had 
begun  to  compete  with  the  more  limited  and  cost- 
ly product  of  the  embroiderers,  secular  costume, 
of  the  nobles  at  least,  was  generally  enriched  with 
sumptuous  embroideries. 

Fashions  change,  but  the  embroiderer  has 
never  lacked  employment,  although  today,  per- 
haps more  than  at  any  other  time,  the  beautiful 
productions  of  the  weaver's  loom,  produced 
necessarily  at  far  less  expense  than  embroidery, 
have  limited,  if  not  the  popularity,  at  least  the 
use  of  embroidery  in  costume  and  decoration. 
This  is  a  regrettable  result  of  the  mechanical  age 
in  which  we  live.  It  is  not  that  we  love  beauty 
less — are  even,  if  you  will,  less  vain — than  our 
ancestors,  but  that  we  have  other  and  more  com- 
pelling interests  for  the  moment.  But  who  knows 
what  the  future  may  bring  forth?  There  may 
come  a  day  when,  unabashed  as  were  our  fore-fath- 
ers in  the  bravery  of  their  embroidered  coats  and 

2 


breeches,  man  may  gratify  his  innate  desire  to 
deck  himself  in  fine  raiment  less  surreptitiously 
than  he  does  today,  without  the  feeble  excuses  of 
masquerades  and  carnivals. 

Time  has  dealt  more  severely  with  embroi- 
deries than  with  perhaps  any  other  works  of  art. 
In  the  middle  ages  continual  wars  and  pillage 
caused  the  destruction  of  countless  masterpieces 
of  the  embroiderer's  art.  During  the  Reforma- 
tion and  the  French  Revolution,  church  embroi- 
deries were  destroyed  in  great  quantities  by  icono- 
clastics  and  vandals.  As  was  true  of  the  gold 
woven  tapestries,  many  priceless  embroideries 
were  burned  to  obtain  the  precious  metal  used  in 
their  ornamentation.  To  the  dictates  of  fashion, 
we  owe,  furthermore,  the  loss  of  many  treasures 
of  ecclesiastical  embroidery.  The  old  patterns 
went  out  of  style  and  vestments  were  thrown 
away  or  exchanged  for  something  new.  Even 
when  the  ancient  vestments  escaped  destruction 
they  were  generally  mutilated  at  the  dictates  of 
fashion,  cut  here  and  pared  away  there,  until  they 
lost  the  beauty  of  their  original  shape.  But  where 
so  much  has  been  destroyed,  we  must  be  thankful 
that  even  in  this  abbreviated  shape  the  embroider- 
ies of  the  orphreys  and  something  of  the  beautiful 
velvets  and  brocades  of  the  ground  have  been  pre- 
served to  us. 

Fine  embroideries  are  rare  indeed.  It  is,  con- 
sequently, very  gratifying  that  through  the  cour- 
tesy of  P.  W.  French  &  Co.  of  New  York  it  has 

3 


been  possible  for  the  Institute  to  exhibit  in  the 
large  gallery  on  the  second  floor  a  remarkable 
group  of  beautiful  embroideries  of  the  Renais- 
sance and  later  periods.  For  the  most  part,  these 
are  ecclesiastical  vestments.  The  beautiful  cope 
and  chasuble,  Nos.  6  and  1 3,  are  remarkable  ex- 
amples of  late  XV  century  Spanish  embroidery. 
The  beauty  of  the  embroidery  is  enhanced  by  the 
sumptuous  character  of  the  gold  brocaded  ground. 
Among  the  other  vestments  may  be  noted  the 
beautiful  Italian  cope  of  the  XVI  century,  No.  1. 
Two  altar  frontals,  Nos.  11,  15,  are  characteristic 
examples  of  this  class  of  work.  The  antependium, 
No.  24,  will  arouse  enthusiasm  among  all  lovers 
of  English  petit  point  embroidery.  The  large 
hanging,  No.  9,  illustrates  a  typical  phase  of 
Portuguese  embroidery,  strikingly  decorative  in 
effect.  Several  examples  of  the  XVIII  century 
embroidery  will  well  repay  careful  inspection. 
Among  the  unembroidered  textiles  are  many 
pieces  extremely  effective  in  pattern  and  beauty 
of  texture,  but  perhaps  none  will  afford  more 
pleasure  to  the  eyes  of  those  who  love  textiles 
than  the  mulberry  colored  velvet  cope,  No.  23, 
reminding  one  of  jewels  in  the  play  of  light  over 
its  soft  surface.  J.  B. 


4 


CATALOGUE 


Items  are  arranged  in  order  of  exhibition 

1.  COPE.  ITALIAN,  XVI  CENTURY.  A 
magnificent  crimson  velvet  cope  with  or- 
phreys  of  gold  embroidery  with  oval  medal- 
lions, in  gold  and  silk,  representing,  begin- 
ning at  the  left,  St.  Andrew,  St.  Peter,  St. 
James  the  Great,  a  Bishop,  the  Virgin  and 
Child,  and  a  female  Saint. 


2  and  3.  TWO  VALANCES.  ITALIAN,  XVI 
CENTURY.  Two  examples  of  crimson  vel- 
vet valances  with  designs  in  galoon  and  gold 
fringes,  used  in  the  ornamentation  of 
churches  on  festival  days. 

4.  CHASUBLE.  ITALIAN,  XVI  CENTURY. 
Upon  a  ground  of  crimson  velvet  are  applied 
gold  and  silver  embroidered  orphreys  show- 
ing the  characteristic  ornament  and  designs 
of  the  period.  In  the  medallions  on  the  back 
are  represented  God  the  Father,  the  Virgin 
and  Child,  and  St.  James  the  Great. 


5.  HANGING.  ITALIAN,  XVIII  CENTURY. 
Two  strips  of  Genoese  velvet,  with  a  large 
pattern  in  magenta  on  a  cream-colored 
ground.  This  fabric  formed  part  originally 
of  the  hangings  of  some  church. 

5 


6.    CHASUBLE.    SPANISH,  LATE  XV  CEN- 
TURY.   See  under  No.  1  3. 


7.  HANGING.  ITALIAN,  LATE  XVI  OR 
EARLY  XVII  CENTURY.  This  hanging  is 
composed  of  three  strips  of  beautiful  jardi- 
niere velvet,  so  called  from  the  flower  design 
which  is  woven  in  seven  colors  on  a  cream- 
colored  ground.  An  exceptionally  beautiful 
example. 


8.  CHASUBLE.  XVI  CENTURY.  The  em- 
broidered  orphreys  are  applied  upon  velvet 
having  a  cream-colored  ground  with  a  small 
over-all  pattern  in  mauve.  The  embroideries 
represent  the  Virgin  and  Child  and  two 
Monastic  Saints. 


9.  HANGING.  PORTUGUESE,  EARLY  XVII 
CENTURY.  This  hanging  is  composed  of 
three  widths,  sewed  together,  of  XVI  century 
olive  green  velvet  ornamented  with  embroid- 
ery and  applique  decorations  of  striking  de- 
sign. 


10.  PANEL.  SPANISH  (?),  XVIII  CEN- 
TURY. This  panel,  possibly  a  banner  or 
part  of  a  costume,  is  richly  ornamented  with 
embroidery  in  gold  and  colored  silks  on  a 
burnt-orange  ground. 

6 


11.  ALTAR  FRONTAL.  ITALIAN,  XVI 
CENTURY.  The  dark  red  velvet  ground 
is  richly  embroidered  in  gold,  and  orna- 
mented with  bands  of  embroidery  figuring 
saints  executed  in  colored  silks  and  gold. 
The  over-all  patterning  of  the  velvet  cloth 
is  particularly  effective.  Beginning  at  the 
bottom  of  the  left  vertical  strip  the  Saints 
represented  are  St.  Barbara,  St.  Paul,  St. 
Matthias  ( ?  ) ,  St.  Bartholomew,  St.  James 
the  Great,  St.  Lawrence  or  Stephen,  the 
Virgin  and  Child,  St.  Peter,  a  female  Saint, 
St.  Joseph,  and  St.  Florian  (?). 

12.  VALANCE.  ITALIAN  OR  SPANISH, 
XVI  CENTURY.  A  typical  example  of  the 
valances  used  for  the  decoration  of 
churches  on  festival  days.  This  panel  of 
crimson  velvet  ornamented  with  gold  ga- 
loon  and  deep  fringe  is  a  striking  witness  to 
the  splendor  of  the  Renaissance  period. 

13.  COPE  AND  CHASUBLE.  SPANISH, 
LATE  XV  CENTURY.  Red  and  gold 
ground  brocade  enriched  with  gold  tinsel 
and  woven  in  a  pomegranate  design,  a  fa- 
vorite pattern  for  the  rich  textiles  of  the  XV 
century.  The  orphrey  and  capuchon  are 
marvelous  examples  of  embroidery  in  de- 
sign and  execution.  They  are  ascribed  to 
the  famous  embroiderers  of  Toledo.  The 


7 


embroideries  on  the  cope  represent  the 
Adoration  of  the  Magi,  the  Presentation  in 
the  Temple,  the  Assumption,  the  Nativity, 
the  Annunciation,  the  Meeting  of  St.  Anne 
and  St.  Joachim.  The  embroideries  on  the 
back  of  the  chasuble  represent  the  Cruci- 
fixion, Christ  in  the  Garden,  the  Betrayal. 
The  subject  of  the  embroidery  on  the  ca- 
puchon  is  the  Trinity.  The  cope  is  one  of 
the  most  beautiful  of  ecclesiastical  vest- 
ments. It  is  a  processional  mantle  or  cloak 
worn  over  the  other  vestments.  The 
chasuble  is  a  vestment  usually  richly  orna- 
mented worn  by  the  celebrant  at  the  Mass 
or  Eucharist.  Both  the  chasuble  and  the 
cope  are  ornamented  with  orphreys,  bor- 
ders or  cross-shaped  bands  of  decoration. 
The  subjects  are  commonly  scenes  from  the 
life  of  Christ,  representations  of  saints, 
usually  the  apostles  or  patron  saints  of  the 
particular  church  for  which  the  vestments 
were  made.  The  capuchon  is  the  simulated 
hood  forming  part  of  the  cope. 

PANEL.  SPANISH,  EARLY  XVII  CEN- 
TURY. This  panel  originally  formed  part 
of  an  altar  frontal  used  in  the  private  chapel 
of  the  deposed  King  of  Portugal.  It  is  a 
marvelous  example  of  gold  embroidery  en- 
riched with  silver  and  colored  silks. 


8 


15.  ALTAR  FRONTAL.  SPANISH,  LATE 
XVI  CENTURY.  On  a  ground  of  crimson 
velvet  ornamented  with  embroidered  de- 
signs are  applied  embroidered  figures  rep- 
resenting the  Annunciation.  The  valance 
is  of  cloth  of  gold  ornamented  with  coats 
of  arms  of  the  cathedral  for  which  it  was 
made. 

16.  PANEL.  SPANISH,  XVI  CENTURY. 
This  panel  or  strip  of  crimson  and  gold  vel- 
vet is  particularly  noticeable  for  its  interest- 
ing design,  a  typical  pattern  of  the  period. 

1 7.  BANNER.  FRENCH,  XVIII  CENTURY. 
This  triangular  processional  banner  of  crim- 
son silk  is  sumptuously  ornamented  with 
gold  embroidery  exhibiting  a  great  variety 
of  stitches.  The  quality  of  embroidery  and 
beauty  of  design  are  especially  fine. 


18.  SMALL  CAPE.  SPANISH,  XVIII  CEN- 
TURY. Originally  used  as  a  cape  for  a 
statue  of  the  Virgin.  The  brocade  is  a 
cream-colored  ground  ornamented  with  a 
design  in  gold,  silver,  and  colors. 

19.  CAPUCHON.  ITALIAN,  XVI  CENTURY. 
This  capuchon,  or  hood  of  a  cope,  is  em- 
broidered with  gold  and  silk  on  green  vel- 
vet and  trimmed  with  gold  silk  knotted 

9 


fringe.  The  embroidery  represents  the 
Virgin  and  Child. 

20.  DALMATIC.  FRENCH  OR  SPANISH, 
EARLY  XVIII  CENTURY.  Salmon-col- 
ored silk,  ornamented  with  marvelous  sil- 
ver embroidery.  The  dalmatic  is  a  wide- 
sleeved  loose  vestment  with  slit  sides  worn 
by  deacons. 

21.  HANGING.  FRENCH,  XVII  CENTURY. 
Several  breadths  of  sumptuous  cloth  of  gold 
and  silver  fabric,  originally  used  as  a  court 
dress,  make  up  this  beautiful  piece  of  dec- 
oration. The  textile  has  a  characteristic 
design  in  silver,  gold,  and  colors  on  a  sal- 
mon-colored ground. 

22.  COPE.  SPANISH,  XVI  CENTURY. 
Crimson  velvet  cope  ornamented  with  or- 
phreys  richly  embroidered  with  gold  and 
silver,  representing  in  circular  medallions, 
beginning  at  the  left,  St.  Matthias  (?),  St. 
John,  St.  Peter,  two  Saints  unidentified,  and 
St.  Andrew. 

23.  COPE.  ITALIAN,  LATE  XVI  CENTURY. 
This  cope  of  mulberry-colored  velvet  is  un- 
ornamented  except  for  the  gold  gimp,  but 
will  attract  attention  for  the  fineness  and 
rich  color  of  the  velvet. 


10 


24.  ANTEPENDIUM.  ENGLISH,  LATE  XVI 
CENTURY.  This  fine  example  of  English 
petit-point  embroidery  probably  orna- 
mented the  front  of  an  altar.  The  subjects, 
except  the  first  on  the  left,  depict  events  in 
the  life  of  Christ:  Christ  in  the  Garden, 
Christ  before  the  High  Priest,  the  Flagel- 
lation, the  Deposition,  the  Entombment, 
and  the  Resurrection.  The  first  panel  ap- 
parently represents  Jupiter,  although  in 
Renaissance  costume,  and  presumably  does 
not  belong  to  the  other  scenes. 


25.  BROCADE.  FRENCH,  LOUIS  XIV 
PERIOD  ( 1 643- 1715).  On  a  gold-colored 
ground,  the  floral  design  is  woven  in  silver 
and  colored  silks.  (Exhibited  in  Gallery 
B18,  First  Floor.) 

26.  BROCADE.  FRENCH,  LOUIS  XV 
PERIOD  (1723-1774).  This  brocade  with 
floral  design  on  a  blue  satin  ground  is  a 
characteristic  example  of  the  beautiful 
fabrics  of  the  Louis  XV  period.  (Exhibited 
in  Gallery  B18,  First  Floor. 


II 


* 


THE  MINNEAPOLIS 
SCHOOL  OF  ART 

SUMMER  SESSION 
JUNE  21  TO  JULY  31,  1915 

FALL  TERM  OPENS 

SEPTEMBER  27 

ILLUSTRATED  CATALOGUE 
ON  REQUEST 


Photomount 
Pamphlet 
Binder 

GaylordBros.lnc. 

"  Makers 
Syracuse,  N.  Y. 

PAT.  JAN  21,  1908 


